PyTorch continues to gain momentum because of its focus on meeting the needs of researchers, its streamlined workflow for production use, and most of all because of the enthusiastic support it has received from the AI community. PyTorch citations in papers on ArXiv grew 194 percent in the first half of 2019 alone, as noted by O’Reilly, and the number of contributors to the platform has grown more than 50 percent over the last year, to nearly 1,200. Facebook, Microsoft, Uber, and other organizations across industries are increasingly using it as the foundation for their most important machine learning (ML) research and production workloads.
We are now advancing the platform further with the release of PyTorch 1.3, which includes experimental support for features such as seamless model deployment to mobile devices, model quantization for better performance at inference time, and front-end improvements, like the ability to name tensors and create clearer code with less need for inline comments. We’re also launching a number of additional tools and libraries to support model interpretability and bringing multimodal research to production.
Additionally, we’ve collaborated with Google and Salesforce to add broad support for Cloud Tensor Processing Units, providing a significantly accelerated option for training large-scale deep neural networks. Alibaba Cloud also joins Amazon Web Services, Microsoft Azure, and Google Cloud as supported cloud platforms for PyTorch users. You can get started now at pytorch.org.
PyTorch 1.3
The 1.3 release of PyTorch brings significant new features, including experimental support for mobile device deployment, eager mode quantization at 8-bit integer, and the ability to name tensors. With each of these enhancements, we look forward to additional contributions and improvements from the PyTorch community.
Named tensors (experimental)
Cornell University’s Sasha Rush has argued that, despite its ubiquity in deep learning, the traditional implementation of tensors has significant shortcomings, such as exposing private dimensions, broadcasting based on absolute position, and keeping type information in documentation. He proposed named tensors as an alternative approach.
Today, we name and access dimensions by comment:
# Tensor[N, C, H, W]
images = torch.randn(32, 3, 56, 56)
images.sum(dim=1)
images.select(dim=1, index=0)
But naming explicitly leads to more readable and maintainable code:
NCHW = [‘N’, ‘C’, ‘H’, ‘W’]
images = torch.randn(32, 3, 56, 56, names=NCHW)
images.sum('C')
images.select('C', index=0)
Quantization (experimental)
It’s important to make efficient use of both server-side and on-device compute resources when developing ML applications. To support more efficient deployment on servers and edge devices, PyTorch 1.3 now supports 8-bit model quantization using the familiar eager mode Python API. Quantization refers to techniques used to perform computation and storage at reduced precision, such as 8-bit integer. This currently experimental feature includes support for post-training quantization, dynamic quantization, and quantization-aware training. It leverages the FBGEMM and QNNPACK state-of-the-art quantized kernel back ends, for x86 and ARM CPUs, respectively, which are integrated with PyTorch and now share a common API.
To learn more about the design and architecture, check out the API docs here, and get started with any of the supported techniques using the tutorials available here.
PyTorch mobile (experimental)
Running ML on edge devices is growing in importance as applications continue to demand lower latency. It is also a foundational element for privacy-preserving techniques such as federated learning. To enable more efficient on-device ML, PyTorch 1.3 now supports an end-to-end workflow from Python to deployment on iOS and Android.
This is an early, experimental release, optimized for end-to-end development. Coming releases will focus on:
- Optimization for size: Build level optimization and selective compilation depending on the operators needed for user applications (i.e., you pay binary size for only the operators you need)
- Performance: Further improvements to performance and coverage on mobile CPUs and GPUs
- High level API: Extend mobile native APIs to cover common preprocessing and integration tasks needed for incorporating ML in mobile applications. e.g. Computer vision and NLP
Learn more or get started on Android or iOS here.
New tools for model interpretability and privacy
Captum
As models become ever more complex, it is increasingly important to develop new methods for model interpretability. To help address this need, we’re launching Captum, a tool to help developers working in PyTorch understand why their model generates a specific output. Captum provides state-of-the-art tools to understand how the importance of specific neurons and layers and affect predictions made by the models. Captum’s algorithms include integrated gradients, conductance, SmoothGrad and VarGrad, and DeepLift.
The example below shows how to apply model interpretability algorithms on a pretrained ResNet model and then visualize the attributions for each pixel by overlaying them on the image.
noise_tunnel = NoiseTunnel(integrated_gradients)
attributions_ig_nt, delta = noise_tunnel.attribute(input, n_samples=10, nt_type='smoothgrad_sq', target=pred_label_idx)
_ = viz.visualize_image_attr_multiple(["original_image", "heat_map"],
["all", "positive"],
np.transpose(attributions_ig_nt.squeeze().cpu().detach().numpy(), (1,2,0)),
np.transpose(transformed_img.squeeze().cpu().detach().numpy(), (1,2,0)),
cmap=default_cmap,
show_colorbar=True)
Learn more about Captum at captum.ai.
CrypTen
Practical applications of ML via cloud-based or machine-learning-as-a-service (MLaaS) platforms pose a range of security and privacy challenges. In particular, users of these platforms may not want or be able to share unencrypted data, which prevents them from taking full advantage of ML tools. To address these challenges, the ML community is exploring a number of technical approaches, at various levels of maturity. These include homomorphic encryption, secure multiparty computation, trusted execution environments, on-device computation, and differential privacy.
To provide a better understanding of how some of these technologies can be applied, we are releasing CrypTen, a new community-based research platform for taking the field of privacy-preserving ML forward. Learn more about CrypTen here. It is available on GitHub here.
Tools for multimodal AI systems
Digital content is often made up of several modalities, such as text, images, audio, and video. For example, a single public post might contain an image, body text, a title, a video, and a landing page. Even one particular component may have more than one modality, such as a video that contains both visual and audio signals, or a landing page that is composed of images, text, and HTML sources.
The ecosystem of tools and libraries that work with PyTorch offer enhanced ways to address the challenges of building multimodal ML systems. Here are some of the latest libraries launching today:
Detectron2
Object detection and segmentation are used for tasks ranging from autonomous vehicles to content understanding for platform integrity. To advance this work, Facebook AI Research (FAIR) is releasing Detectron2, an object detection library now implemented in PyTorch. Detectron2 provides support for the latest models and tasks, increased flexibility to aid computer vision research, and improvements in maintainability and scalability to support production use cases.
Detectron2 is available here and you can learn more here.
Speech extensions to fairseq
Language translation and audio processing are critical components in systems and applications such as search, translation, speech, and assistants. There has been tremendous progress in these fields recently thanks to the development of new architectures like transformers, as well as large-scale pretraining methods. We’ve extended fairseq, a framework for sequence-to-sequence applications such as language translation, to include support for end-to-end learning for speech and audio recognition tasks.These extensions to fairseq enable faster exploration and prototyping of new speech research ideas while offering a clear path to production.
Get started with fairseq here.
Cloud provider and hardware ecosystem support
Cloud providers such as Amazon Web Services, Microsoft Azure, and Google Cloud provide extensive support for anyone looking to develop ML on PyTorch and deploy in production. We’re excited to share the general availability of Google Cloud TPU support and a newly launched integration with Alibaba Cloud. We’re also expanding hardware ecosystem support.
- Google Cloud TPU support now broadly available. To accelerate the largest-scale machine learning (ML) applications deployed today and enable rapid development of the ML applications of tomorrow, Google created custom silicon chips called Tensor Processing Units (TPUs). When assembled into multi-rack ML supercomputers called Cloud TPU Pods, these TPUs can complete ML workloads in minutes or hours that previously took days or weeks on other systems. Engineers from Facebook, Google, and Salesforce worked together to enable and pilot Cloud TPU support in PyTorch, including experimental support for Cloud TPU Pods. PyTorch support for Cloud TPUs is also available in Colab. Learn more about how to get started with PyTorch on Cloud TPUs here.
- Alibaba adds support for PyTorch in Alibaba Cloud. The initial integration involves a one-click solution for PyTorch 1.x, Data Science Workshop notebook service, distributed training with Gloo/NCCL, as well as seamless integration with Alibaba IaaS such as OSS, ODPS, and NAS. Together with the toolchain provided by Alibaba, we look forward to significantly reducing the overhead necessary for adoption, as well as helping Alibaba Cloud’s global customer base leverage PyTorch to develop new AI applications.
- ML hardware ecosystem expands. In addition to key GPU and CPU partners, the PyTorch ecosystem has also enabled support for dedicated ML accelerators. Updates from Intel and Habana showcase how PyTorch, connected to the Glow optimizing compiler, enables developers to utilize these market-specific solutions.
Growth in the PyTorch community
As an open source, community-driven project, PyTorch benefits from wide range of contributors bringing new capabilities to the ecosystem. Here are some recent examples:
- Mila SpeechBrain aims to provide an open source, all-in-one speech toolkit based on PyTorch. The goal is to develop a single, flexible, user-friendly toolkit that can be used to easily develop state-of-the-art systems for speech recognition (both end to end and HMM-DNN), speaker recognition, speech separation, multi-microphone signal processing (e.g., beamforming), self-supervised learning, and many others. Learn more
- SpaCy is a new wrapping library with consistent and easy-to-use interfaces to several models, in order to extract features to power NLP pipelines. Support is provided for via spaCy’s standard training API. The library also calculates an alignment so the transformer features can be related back to actual words instead of just wordpieces. Learn more
- HuggingFace PyTorch-Transformers (formerly known as pytorch-pretrained-bert is a library of state-of-the-art pretrained models for Natural Language Processing (NLP). The library currently contains PyTorch implementations, pretrained model weights, usage scripts, and conversion utilities for models such as BERT, GPT-2, RoBERTa, and DistilBERT. It has also grown quickly, with more than 13,000 GitHub stars and a broad set of users. Learn more
- PyTorch Lightning is a Keras-like ML library for PyTorch. It leaves core training and validation logic to you and automates the rest. Reproducibility is a crucial requirement for many fields of research, including those based on ML techniques. As the number of research papers submitted to arXiv and conferences skyrockets into the tens of thousands, scaling reproducibility becomes difficult. Learn more.
We recently held the first online Global PyTorch Summer Hackathon, where researchers and developers around the world were invited to build innovative new projects with PyTorch. Nearly 1,500 developers participated, submitting projects ranging from livestock disease detection to AI-powered financial assistants. The winning projects were:
- Torchmeta, which provides extensions for PyTorch to simplify the development of meta-learning algorithms in PyTorch. It features a unified interface inspired by TorchVision for both few-shot classification and regression problems, to allow easy benchmarking on multiple data sets to aid with reproducibility.
- Open-Unmix, a system for end-to-end music demixing with PyTorch. Demixing separates the individual instruments or vocal track from any stereo recording.
- Endless AI-Generated Tees, a store featuring AI-generated T-shirt designs that can be purchased and delivered worldwide. The system uses a state-of-the-art generative model (StyleGAN) that was built with PyTorch and then trained on modern art.
Visit pytorch.org to learn more and get started with PyTorch 1.3 and the latest libraries and ecosystem projects. We look forward to the contributions, exciting research advancements, and real-world applications that the community builds with PyTorch.
We’d like to thank the entire PyTorch team and the community for all their contributions to this work.


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Nintendo UK reveals cyber deals running from Friday 22nd November
by My Nintendo News AdminWith Black Friday just around the corner, one of the biggest Nintendo eShop sales of the year will be kicking off on Friday 22nd November at 15:00 CET and running until Sunday 1st December at 23:59 local time. The Cyber Deals sale will offer over 150 titles for Nintendo Switch at discounted prices. Visit Nintendo eShop once the sale goes live on Thursday to see all the titles included and the discounts on offer.
With such a large range of games on offer, the Cyber Deals sale has something for everyone. Whether you’ve recently purchased a Nintendo Switch Lite and are looking for games to enjoy on the go, or you’re a Nintendo Switch veteran looking for something different to try, the Cyber Deals sale is a great opportunity to expand your software library and broaden your gaming horizons.
For Nintendo Switch Online members who wish to play classic NES games in authentic fashion, the Nintendo Entertainment System Controllers from My Nintendo Store will be available for 20% off regular price during the Cyber Deals sale period.
Here’s a summary of just some of the titles that will be available at discounted prices during the sale:
- Super Mario Odyssey: Nintendo – 30%
- The Legend of Zelda: Breath of the Wild: Nintendo – 30%
- Cadence of Hyrule – Crypt of the NecroDancer Featuring The Legend of Zelda: Nintendo – 30%
- New Super Mario Bros. U Deluxe: Nintendo – 30%
- Dragon Quest Builders 2: Nintendo – 30%
- Xenoblade Chronicles 2: Nintendo – 30%
- EA SPORTS™ FIFA 20 Nintendo Switch Legacy Edition: Electronic Arts – 30%
- DARK SOULS™: Remastered: BANDAI NAMCO Entertainment – 40%
- Dragon Ball FighterZ: BANDAI NAMCO Entertainment – 70%
- Wolfenstein®: Youngblood™ Deluxe Edition: Bethesda Softworks – 50%
- Monster Hunter Generations Ultimate™ : CAPCOM Europe -50%
Source: Nintendo UK


Observations from radio telescopes are stored in multi-dimensional arrays (3-dimensional data cubes or higher) which are then analysed by radio astronomers. This analysis is enabled by the use of multiple visualization tools. While these tools are incredibly powerful, they have many limitations which are exacerbated by the sheer scale the data is reaching, with projects like the SKA predicting an exabyte of data every day.
We believe existing software can be improved by involving users in interface design and implementing features that make user's lives easier, like overlaying optical catalogues or giving users the ability to select subvolumes and automatically analyse them.
Below we present a brief overview of our goals and findings, the full texts of the reports can be found in the resources section.
Frequent consultation with domain experts produced a much more usable, useful and effective interface, making this approach worthwhile. The overall design improved over iterations and expert users felt the final design was an improvement on existing interfaces. Novel features such as comparisons, annotations and capturing images were highly useful additions. These findings can be applied when developing types of other scientific software as well.
Results showed that the overlay is easy to use and the markers were relatively accurate. This functionality is likely to reduce the number of manual operations and help astronomers easily visualize points of interest such as galaxy clusters.
Expert testing demonstrated that the features would improve existing options, Elliptical Cylinder selection in particular providing the biggest gains, with automated analysis and plain text export complementing it, while still being useful in their own right.


Seam Social Labs is a group of social impact leaders who are dedicated to solving complex community problems. The problem we are currently focused on is the role of major developments within communities, e.g. gentrification. Our solution is a web-based platform that is designed to engage real estate developers and investors in community engagement in advance of construction.
Go to the Map


TiMidity is designed as a standalone application with a particular kind of extensibility. Out of the box it can sort-of play Karaoke but not well. This chapter looks at how to work with TiMidity to build a Karaoke system.
Source files in this chapter are here .
TiMidity is a MIDI player, not a Karaoke player. By default it just plays the MIDI music, with the lyrics printed out:
$timidity ../54154.mid
Requested buffer size 32768, fragment size 8192
ALSA pcm 'default' set buffer size 32768, period size 8192 bytes
Playing ../54154.mid
MIDI file: ../54154.mid
Format: 1 Tracks: 1 Divisions: 30
No instrument mapped to tone bank 0, program 92 - this instrument will not be heard
#0001
@@00@12
@Here Comes The Sun
@
@@Beatles
Here comes the sun
doo doo doo doo
Here comes the sun
I said it's alright
Little
darling
But it has
a number of alternative interfaces which give different displays.
If you run
timidity
with the -h
(help)
option, it will show a screen including something like
Available interfaces (-i, --interface option):
-in ncurses interface
-ie Emacs interface (invoked from `M-x timidity')
-ia XAW interface
-id dumb interface
-ir remote interface
-iA ALSA sequencer interface
.
The default interface is "dumb", but if you run with, say, the XAW
interface you get a display like
There is, however, one unfortunate effect: the lyrics are displayed
before they are due to be played!
To get the lyrics played just as they should be sung,
you need to turn on the
--trace
option. From the man page,
"Toggles trace mode. In trace mode, TiMidity++ attempts to
display its current state in real time."
You may find the link between documentation and behaviour
a lttle less than obvious...
timidity --trace ../54154.mid
This now works fine for MIDI files, the lyrics are displayed
when they should be sung. But it doesn't display the lyrics
for .KAR
files. For that you need the
--trace-text-meta
option:
timidity --trace --trace-text-meta ../54154.kar
So by this stage, TiMidity will display the lyrics on the screen in realtime for Karaoke files (and MIDI files with LYRIC events). To have our own control over this display, we need to build our own TiMidity interface.
In the MIDI chapter on
User space tools
we discussed playing MIDI files using Jack.
Jack is designed to link audio sources and sinks in
arbitrary configurations. By running qjackctl
you can link, for example, microphone outputs to
speaker inputs.
This is done by dragging "capture_1" to "playback_1" etc
and appears like
If TiMidity is then run with Jack output, you get instant
Karaoke. You can also see the lyrics played in real time
using the --trace
option:
timidity -Oj --trace 54154.mid
The connections are shown in qjackctl
as
The lyric display is klunky, and will be improved later.
You will need to have the TiMidity source downloaded from SourceForge TiMidity++ .
In the earlier chapter on MIDI and TiMidity we discussed two alternative ways of building applications using TiMidity:
Both options are possible here, with one wrinkle: if we want to capture MIDI events then we have to do so as a back-end to TiMidity, which requires that we build a TiMidity interface.
To recap on this,
the different interface files for TiMidity are stored in the
directory interface
and include files such as
dumb_c.c
for the dumb interface. They all revolve
around a data structure ControlMode
defined in timidity/controls.h
:
typedef struct {
char *id_name, id_character;
char *id_short_name;
int verbosity, trace_playing, opened;
int32 flags;
int (*open)(int using_stdin, int using_stdout);
void (*close)(void);
int (*pass_playing_list)(int number_of_files, char *list_of_files[]);
int (*read)(int32 *valp);
int (*write)(char *buf, int32 size);
int (*cmsg)(int type, int verbosity_level, char *fmt, ...);
void (*event)(CtlEvent *ev); /* Control events */
} ControlMode;
.
For the simplest values of the functions in this structure,
see the code for the dumb interface in
interface/dumb_c.c
.
For dealing with lyrics, the main field to set is the
function event()
. This will be passed a
pointer to a CtlEvent
which is
defined in timidity/controls.h
:
typedef struct _CtlEvent {
int type; /* See above */
ptr_size_t v1, v2, v3, v4;/* Event value */
} CtlEvent;
The type field distinguishes a large number of event types
such as CTLE_NOW_LOADING
and CTLE_PITCH_BEND
.
The type of interest to us is CTLE_LYRIC
.
interface/dumb_c.c
which prints event information to output:
static void ctl_event(CtlEvent *e)
{
switch(e->type) {
case CTLE_LYRIC:
ctl_lyric((int)e->v1);
break;
}
}
static void ctl_lyric(int lyricid)
{
char *lyric;
lyric = event2string(lyricid);
if(lyric != NULL)
{
if(lyric[0] == ME_KARAOKE_LYRIC)
{
if(lyric[1] == '/' || lyric[1] == '\\')
{
fprintf(outfp, "\n%s", lyric + 2);
fflush(outfp);
}
else if(lyric[1] == '@')
{
if(lyric[2] == 'L')
fprintf(outfp, "\nLanguage: %s\n", lyric + 3);
else if(lyric[2] == 'T')
fprintf(outfp, "Title: %s\n", lyric + 3);
else
fprintf(outfp, "%s\n", lyric + 1);
}
else
{
fputs(lyric + 1, outfp);
fflush(outfp);
}
}
else
{
if(lyric[0] == ME_CHORUS_TEXT || lyric[0] == ME_INSERT_TEXT)
fprintf(outfp, "\r");
fputs(lyric + 1, outfp);
fflush(outfp);
}
}
}
The failing of the current interfaces in TiMidity with regard to Karaoke is that while they can show the lyrics as they are played, they don't show the lyric lines and progressively highlight them as they are played. For that, you need the set of lyrics.
TiMidity in fact builds a list of lyrics, and makes them accessible.
It has a function event2string()
which
takes an integer parameter from one upwards. For each value
it returns the string of a lyric or text event, finally
returning NULL
on the end of the list.
The first character returned is a type parameter, the rest is
the string. Using GLib functions, we can build up an array
of lines for a KAR
file by
struct _lyric_t {
gchar *lyric;
long tick; // not used here
};
typedef struct _lyric_t lyric_t;
struct _lyric_lines_t {
char *language;
char *title;
char *performer;
GArray *lines; // array of GString *
};
typedef struct _lyric_lines_t lyric_lines_t;
GArray *lyrics;
lyric_lines_t lyric_lines;
static void build_lyric_lines() {
int n;
lyric_t *plyric;
GString *line = g_string_new("");
GArray *lines = g_array_sized_new(FALSE, FALSE, sizeof(GString *), 64);
lyric_lines.title = NULL;
n = 1;
char *evt_str;
while ((evt_str = event2string(n++)) != NULL) {
gchar *lyric = evt_str+1;
if ((strlen(lyric) >= 2) && (lyric[0] == '@') && (lyric[1] == 'L')) {
lyric_lines.language = lyric + 2;
continue;
}
if ((strlen(lyric) >= 2) && (lyric[0] == '@') && (lyric[1] == 'T')) {
if (lyric_lines.title == NULL) {
lyric_lines.title = lyric + 2;
} else {
lyric_lines.performer = lyric + 2;
}
continue;
}
if (lyric[0] == '@') {
// some other stuff like @KMIDI KARAOKE FILE
continue;
}
if ((lyric[0] == '/') || (lyric[0] == '\\')) {
// start of a new line
// add to lines
g_array_append_val(lines, line);
line = g_string_new(lyric + 1);
} else {
line = g_string_append(line, lyric);
}
}
lyric_lines.lines = lines;
printf("Title is %s, performer is %s, language is %s\n",
lyric_lines.title, lyric_lines.performer, lyric_lines.language);
for (n = 0; n < lines->len; n++) {
printf("Line is %s\n", g_array_index(lines, GString *, n)->str);
}
}
The function build_lyric_lines()
should be called
from the CTLE_LOADING_DONE
branch of
ctl_event()
.
If we choose to use TiMidity as front-end then we need to run it
with suitable options. These include turning tracing on and also dynamically loading our new interface. This can be done for example by
timidity -d. -iv --trace --trace-text-meta ...
for a "v" interface in the current directory.
The alternative is building a
main program that calls TiMidity as a library. The command
line parameters to TiMidity then have to be included as hard-coded
parameters in the application.
One is easy: the CtlMode
has a field
trace_playing
and setting that to one turns tracing on.
Including Text events as Lyric events requires digging a bit deeper
into TiMidity, but just requires (shortly after initialising
the library)
extern int opt_trace_text_meta_event;
opt_trace_text_meta_event = 1;
I want to be able to play my Karaoke files on the Raspberry Pi and similar Systems on a Chip (SOCs). Unfortuanately the rapsberry Pi has a grossly underpowered CPU, so I have ended up using a CubieBoard 2.
Even then I don't know how to program the GPU, so anything involving heavy graphics is not possible on this CPU. Any of the MIDI players hit close to (or over) 100% CPU usage just be themselves. So the system discussed in the next section, showing background video, isn't feasible.
In this section we use TiMidity as MIDI player with a minimal backend to display
the lyrics as they are played. The lowest level of GUI support is used, namely
Xlib. This can be used to draw text using low-level Xlib calls such as
XDrawImageString
. This wrks fine with ASCII languages, and with
appropriate font choices, with other languages in the ISO-8859 family.
Asian languages are harder to deal with in standard C. They involve one or two byte characters when using an encoding such as UTF-8. To manage these. it is easiest to switch to a library designed to handle them such, such as Cairo.
Cairo is good for drawing simple text. For e.g. Chinese characters you have to find a font that will allow you to draw them. Alternatively, you can jump up one further level to Pango. Pango looks after all the font issues and produces glyphs which are sent to the X server.
that approach is adopted in the following interface, x_code.c
it is compiled by
gcc -fPIC $(CFLAGS) -c -o x_code.o x_code.c $(LIBS) gcc -shared -o if_x.so x_code.o $(LIBS)
and run by
timidity -d. -ix --trace --trace-text-meta ...
In the chapter on FluidSynth case: we discussed a program to show lyrics overlaid onto a movie. Apart from the above considerations, the rest of the application follows similarly to the FluidSynth case: build a set of lyric lines, display them using Pango over Gtk Pixbufs, and when a new lyric event occurs update the corresponding colours in the lyric line.
All of the dynamic action needs to occur out of the back-end of TiMidity.
particularly in the function ctl_event
.
Other parts such as initialising FFMpeg and Gtk must also occur
in the back-end when using standard TiMidity. If TiMidity is used
as a library, this initialisation could occur in the front or the
back. For simplicity, we just place it all in the back in
the file video_code.c
:
The code for this follows the same structure as the code
in the MIDI TiMidity
chapter. It is is in the file
gtkkaraoke_player_video_pango.
:
The interface needs to be built as a shared library by
if_video.so: video_code.c
gcc -fPIC $(CFLAGS) -c -o video_code.o video_code.c $(LIBS)
gcc -shared -o if_video.so video_code.o $(LIBS)
TiMidity is then run with options
timidity -d. -iv --trace --trace-text-meta
As before, it crashes TiMidity from the Ubuntu distro but works fine with TiMidity built from source in the current Linux environment.
At this stage we have a single application which can play a MIDI file, play a background movie and display highlighted lyrics on top of the video. There is no microphone input to sing along.
Singing along can be handled either within this application or by an external process. if we want to include it in the current application then we will have to build a mixer for two audio streams. Java does this in the JavaSound package, but in C we would need to do that ourselves. Now I think that can be done in ALSA, but at present their mixer code is gobbledygook to me.
Jack makes it easy to mix audio - from different processes. The earlier section showed how to do that.
My long term goal is to include scoring, etc. I need to split out the GUI code into a process that can also deal with microphone input. The Gtk interface in TiMidity is a "separate process" model, so I'll build on that - when I have Jack under control.
This section is a place-holder for now.
This chapter has shown how to use TiMidity as MIDI player for a Karaoke system. On my laptop it uses less than 60% of CPU with Gtk 3.0, better than the 100% of FluidSynth.


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My Valium Experiences
With 5mg orally:
This is my first experience ever with Valium. I took one pill at 11:30, then jumped in the shower. About 15 minutes later I started to feel slower, drowsier, more relaxed. It wasn't an unpleasant feeling, but there was nothing overtly pleasant about it either. By the time I got into bed at 12:00 I was very drowsy and pleasantly calm. There was no accompanying euphoria or apathy that I get with an opiate, however it was still a positive experience. I fell asleep shortly, so the continuation of the effects I did not get to experience, though it was the deepest sleep I'd had in months, and I awoke more refreshed than ever. One thing of note was that I either didn't dream, or I couldn't remember any of them.
With 10mg orally:
Two pills were ingested at 9:30 prior to commencing my dinner of two sandwiches. I lay down after eating to watch TV and at about 9:40 I was already feeling them kick in. It felt much as it did the night before, except it had happened a little sooner, but the intensity rapidly increased. It became difficult to keep my eyes entirely open, but I did not feel the need to sleep, though it would've been very easy to do so if I had shut my eyes and rested fully. The feeling of relaxation was intensified to the point of muscle relaxation, and movement became increasingly difficult as time went by. By the time I got up to go to bed, at 10:30, it took a lot of energy to haul myself up, and as I moved my legs felt weaker than normal. Euphoria accompanied the effects this time, but it was not as strong as with opiates, and again there was no apathy induced. Once again, I can not remember dreaming.
With 25mg orally plus alcohol:
Three pills were ingested at 10:00 prior to a bowl of ice cream. I laid down afterwards to watch TV again, and the first effects were noticed within 7 minutes. The usual first wave of relaxation and calmness overcame me, then sharply increased to extreme drowsiness by 10:15. The drowsiness was easy to shake and maintenance of consciousness not at all a problem; though, once again, had I chosen to drop my guard sleep would've come easily and quickly. At 10:30 Large waves of euphoria were overcoming me, accompanied by giddiness. Large, deep breaths and exhalations were almost orgasmic in nature. Movement was extremely difficult to maintain steadily, and I constantly stumbled about as I did move.
At 10:45 I decided to take another 5 mg pill, this time sublingually. By 11:00 I was stumbling about laughing and feeling very good. My friend and I decided to go out, and I had a glass of scotch, followed by a Green Fairy cocktail which included Absinthe and Vodka. After completing these, the time being about 12:15, I was incredibly intoxicated. First thing I noticed was tunnel vision, then an incredible slowing of bodily movements and mental thought. Everything around me seemed to be moving at an incredibly faster pace than normal. Conversation became increasingly difficult.
This extreme level of intoxication seemed to have worn off almost to base level by 1:30, but movement was still more difficult than normal and I was still sluggish. I returned home and at 2:00 decided to push the envelope and absorb another pill sublingually, taking the total ingested to 25 mg. The level of intoxication sprung right back up to where it was before, then continued to intensify. The tunnel vision returned with a vengeance, then my entire vision became blurred. Concentration on anything was almost impossible, but I felt very euphoric and giddy.
The drowsiness was so intense that remaining conscious took every ounce of energy I could muster. Sleep would require nothing more than shutting my eyes. My breathing was incredibly slow, which seemed to be somewhat of a worry, and as such I deigned to keep myself conscious for as long as possible in order to ensure I could maintain steady breathing. The experience was amazingly pleasurable, a feeling of total relaxation and sublime nothingness, similar to an opiate's blissful apathy, but with it's own unique bend.
Not something for cognitive thought, but certainly a pleasurable nothingness and reliever of problems and anxiety. At this level conversation is difficult; certainly not a sociable level of intoxication. When I finally got to bed, after much difficulty brushing teeth and changing clothes, I collapsed onto my mattress and was asleep within minutes. Strangely, while not vivid, I remember having dreams, whilst at the lower levels they had been entirely absent.
With 15 mg orally; followed by a further 15 mg insufflated plus alcohol and DXM:
Three pills were taken at 8:30 before heading to the movies. By the time I was in the queue to by the tickets, at 8:45, its effects were being strongly felt. Throughout the movie I felt the same dream-like, light euphoria that was induced by a 10 mg dosage, but the dream-like aspect was far more pronounced. There was no trouble following the movie or whispering to my the person I was with, but some things that weren't immediately obvious were missed, and I only picked up on them when the person beside me told me about them.
When we returned home from the movie, at around 11:30, we both wanted some Valium, and I decided I wanted to try them via insufflation, so I crushed up six 5 mg pills and sorted them out into 8 lines. We began drinking a four pack of vodka cruisers (only 5% alcohol), having two each, and had a line each every 15-30 minutes; everything was quicker via this method (i.e. onset, coming up), but so was the duration cut down. By the time the lines were gone we still had approx. 1/2 a bottle of a cruiser each. There was much euphoria and giddiness induced, with a very, very calmed, relaxed feeling, akin to that of a marijuana high but without any of the downsides (itchiness, sore lungs, paranoia, restlessness etc.), and I was simply content to lie on my friend's lap while we discussed things.
Although it was not the typical 'blissful apathy' of an opiate, it was not too far removed from it, in its own Benzodiazapine way, as in I was simply content and didn't care about anything that might've been troubling me at the time. At some stage I remembered that I still had a bottle of Robitussin lying around, and I went to get that. We approxiametly shared it, I had a little more than a half as she had never done it before, and then laid on a mattress together to enjoy the effects. While she experienced minor hallucinations, I did not. I am a very experienced psychonaut, and I had done DXM several times before. My usual dosage for wanting to trip out being 1 1/2-2 bottles, however, I had consumed only half a bottle before and hallucinated, so I believe that the fact that Valium reduces brain activity might have prevented the lower dosage working on my hallucinatory-adjusted brain.
One thing the Valium did do that was quite remarkable, however, was act as a powerful potentiator to the dissociative effects of the DXM. I had never experienced even slight dissociation with less than 1 bottle of DXM, and certainly had never experienced total dissociation with less than 1 3/4, but this time I felt complete dissociation, though it was easy to snap myself out of it. I am summising that this is due to the Valium.
With 10 mg sublingually:
This experience was virtually identical to the 10 mg oral experience, however it came on somewhat faster and its strength was somewhere between that of a 10 mg and 15 mg oral hit. Of note here is that while the onset and come up is faster here, unlike the insufflation method, the duration of the main effects of the drug are not diminished; at least not to a noticable method.
With 5 mg rectally plus alcohol:
I shafted a pill at 8:30 and waited for it to hit. By 8:50 I wasn't feeling much of anything and began to wonder if Valium was, perhaps, not active rectally, or whether my daily use of it lately had increased my tolerance where 5 mg wasn't enough. Being a very tall person, and perhaps something just to do with my body, I had always been able to take far more drugs than others, and often had to take 1 1/2-2 times what my friends would take to get similar effects, even before I had begun acquiring a tolerance for them.
By 9:00 I had gotten impatient, and I wasn't at home so I had no more pills, thusly I went inside a poured myself a liberal dosing of Tia Maria. I had another one of these before I finally got slammed with that familiar Benzodiazepine come up at about 9:20. I suddenly felt as if I'd just swallowed a 15 mg dose, and I sunk into my seat as the wave of relaxation and that slight smirk that came with the euphoria washed over me. The period of coming up was much more protracted, and it was far more enjoyable that way. Rather than that sudden crash of euphoria and relaxation I achieve (particularly with insufflation), it was a slow, gentle rolling, like I was being massaged.
When the peak was reached, it was far more intense than via the other methods, and the alcohol I had taken with it made me stumble over my words a bit. Drowsiness was quite pronounced, but I think that by this stage, because of my repeated experience with the drug, fighting off the urge to sleep was effortless. The peak subsided within the half hour and settled gently onto a plateau that was like a 10 mg oral dose. This was one of the most pleasurable experiences I'd had so far, but the socialability side of it left much to be desired.
With 30 mg rectally:
Having dabbled with 25 and 30 mg dosages, over protracted times, I decided it was time to push the envelope again. This time I thought I'd push it a long way. According the the makers of Valium, 40 mg is the maximum reccomended dosage, and this is meant only to treat seizures and the likes. Moreover, I was attempting this through rectal administration, where a 5 mg dose is akin to a 15 mg oral dose. It was therefore possible that such a high dosage could induce coma and serious depression of my breathing. However, with no information I could find on the net to help me, I decided that I would take this step in the name of discovery. I made sure I had a sober person with me at all times, and at 9:30 I placed 6 pills into a gel cap and shafted them.
Lying down to watch TV, as had become my usual ritual with Diazepam experimentation, I waited patiently this time for the effects to begin. They came, they REALLY came, just before 10:30, the same gentle rolling feeling that I had experienced with the 5 mg rectal administration, but much, much more intense. It was like the difference between some skinny, untrained masseuse versus a muscular, swedish professional with years of training. The next hour I laid watching this documentary, grinning stupidly, giggling every now and thing and writhing about with pleasure. My eyes were half shut and weren't opening beyond that for more than a few seconds no matter how hard I tried.
Then, come 11:30, the peak slammed into me like an express train and I stretched out my arms and legs, letting out a moan of ecstacy. My eyes narrowed to slits as I stared up at the roof, the light fragmenting through my eyelashes and provided a suitably entrancing sight for me to gaze at. The sound of the TV droned into nothing more than a background noise and my mind seemed to wipe into a blank slate as I lay there, eyes almost shut, mouth hanging open, moans of pleasure occasionally escaping. This was very much like a 300 mg dosage of Codeine, without the same intensity of euphoria.
My attempts to move were quite futile, as my muscles were so relaxed it took an incredible amount of strength to haul myself into a standing position. Eventually I managed to do so, and walking about was as amusing as it was arduous, tripping over my own feet and bouncing off of walls. Keeping consciousness at this extreme peak, particularly while lying down, took a lot of concentration, but the reward of maintaining it was well worth the effort.
Even after the peak had subsided, by 12:00, I was still very disoriented, relaxed and somewhat euphoric. The 'rush-like' euphoria was gone, and replaced by the 'dream-like' euphoria. I returned to my mattress to watch a movie, and thought to myself that this was, indeed, the only suitable activity for this level of intoxication, as brain processes were so dulled that concentration on anything other than moving pictures, and perhaps very, very slow, disjointed conversation, would be far too laborious. By the end of the movie, at 01:00, I was beginning to come down, and here I am writing the report first hand, right after the event, at 02:00 (for a change from the retrospective summaries of the previous reports).
Even now I am still highly intoxicated, this far into the come down it remains to be equal to at least a 15 mg oral dosage. Of note here, also, is that listening to music during the come down period has a very strong appeal to it, whereas the come down period during other methods of taking the drug does not seem to have any connection to it (i.e. listening to music is neither particularly pleasurable nor unwanted). I shall be retiring to bed soon, where I believe I shall sleep the most restfully I have of any of my experiences yet.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


The Italian, Along with teammate Jorge Lorenzo, has been competing on the World Stage for 16 straight years- the third highest on the grid behind Valentino Rossi (Movistar Yamaha MotoGP) and Dani Pedrosa (Repsol Honda Team). It's Huge testament to the 32-year-old, Who in the last two years has been - on paper - Marc Marquez (Repsol Honda Team) most Consistent challanger
Pergi Ke Website Moto Gpatau
Kembali Ke Index


Main module: This module is where the camera is suposed to be, it has three servos.
Side module: This module is any other extra module, this only has two servos.
Save Modules
Open Module Settings


How many times in a row can you beat the computer?
Rock crushes Scissors, Paper covers Rock, and Scissors cut Paper.
You Picked:
The Computer Picked:
{{home.userPick}}
{{home.computerPick}}


Block X Technology
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<EMAIL_ADDRESS>Made with love.


Namespace SiaNet.Layers.Activations
Classes
Elu
Exponential linear unit activation function: x if x > 0 and alpha * (exp(x)-1) if x < 0.
Exp
Exponential activation function which returns simple exp(x)
HardSigmoid
LeakyRelu
Leaky version of a Rectified Linear Unit.
It allows a small gradient when the unit is not active: f(x) = alpha* x for x< 0, f(x) = x for x >= 0.
Linear
Linear activation with f(x)=x
PRelu
Parametric Rectified Linear Unit.
It follows: f(x) = alpha* x for x< 0, f(x) = x for x >= 0, where alpha is a learned array with the same shape as x.
Relu
Rectified Linear Unit.
With default values, it returns element-wise max(x, 0).
Otherwise, it follows: f(x) = max_value for x >= max_value, f(x) = x for threshold <= x<max_value, f(x) = alpha* (x - threshold) otherwise.
Selu
SELU is equal to: scale * elu(x, alpha), where alpha and scale are predefined constants. The values of alpha and scale are chosen so that the mean and variance of the inputs are preserved between two consecutive layers as long as the weights are initialized correctly (see lecun_normal initialization) and the number of inputs is "large enough"
Sigmoid
Sigmoid takes a real value as input and outputs another value between 0 and 1. It’s easy to work with and has all the nice properties of activation functions: it’s non-linear, continuously differentiable, monotonic, and has a fixed output range.
Softmax
Softmax function calculates the probabilities distribution of the event over ‘n’ different events. In general way of saying, this function will calculate the probabilities of each target class over all possible target classes. Later the calculated probabilities will be helpful for determining the target class for the given inputs.
Softplus
The softplus activation: log(exp(x) + 1).
Softsign
The softsign activation: x / (abs(x) + 1).
Tanh
Hyperbolic tangent activation. Tanh squashes a real-valued number to the range [-1, 1]. It’s non-linear. But unlike Sigmoid, its output is zero-centered. Therefore, in practice the tanh non-linearity is always preferred to the sigmoid nonlinearity.


Using the ellipse tool
The ellipse tool allows you to draw ellipses and circles on your image. By default, it draws a pixel-wide border around the ellipse, but this can be changed in the ellipse tool's properties window:
The drawn ellipse can be either filled or unfilled. If you choose the first option for the fill color, whatever color is set to the mouse button you're using will be used to fill the ellipse. The second option gives you the opportunity to use an alternate shade for the inside of the ellipse.
Additionally, you can set the width of the border drawn around the ellipse by altering the field. There are a few key commands you might find useful:
To lock the drawing to a circle:
Hold the shift key to restrict the ellipse tool to a 1:1 aspect ratio.
To make the initial point the center instead of a corner:
Holding the option key while drawing with the ellipse tool will place the initial click point at the center of the ellipse instead of in a corner.


Class WordAlignment¶
Defined in File alignment.h
Nested Relationships¶
Nested Types¶
Class Documentation¶
-
class
WordAlignment
¶ Public Functions
-
WordAlignment
()¶
-
WordAlignment
(const std::string &line, size_t srcEosPos, size_t tgtEosPos)¶ Constructs word alignments from textual representation.
Adds alignment point for externally supplied EOS positions in source and target string.
- Parameters
line
: String in the form of “0-0 1-1 1-2”, etc.
-
auto
begin
() const¶
-
auto
end
() const¶
-
void
push_back
(size_t s, size_t t, float p)¶
-
size_t
size
() const¶
-
void
sort
()¶ Sorts alignments in place by source indices in ascending order.
-
void
normalize
(bool reverse = false)¶ Normalizes alignment probabilities of target words to sum to 1 over source words alignments.
This is needed for correct cost computation for guided alignment training with CE cost criterion.
-
struct
Point
¶
-


Japanese “dollar hotel” offers option to livestream guest’s stay
- Advertisement -
A small hotel located in Japan’s Fukuoka prefecture offers a special promo for budget travellers.
Regular overnight accommodation at the Asahi Ryokan hotel costs US$27 (S$36), but it can cost only one dollar if the guest agrees to livestream their entire stay at the hotel.
Tetsuya Inoue (27) manages the Asahi Ryokan hotel. He came up with the idea of livestreaming his guests as he was brainstorming on improvements for his business model.
He shared that he got the idea from a British traveller who live-streamed his stay in the hotel.
- Advertisement -
A video camera is set up in just one room in the hotel, and the audio is disabled so guests can still have private conversations.
Tetsuya explained that guests may also opt to turn off the lights in the room, and the bathroom is off limits as well.
Guests are also prohibited from performing “lewd acts” and sharing their personal information like passport and credit card numbers while being livestreamed.
He only started offering the promo last month, and four guests have already agreed to his terms.
“Young people nowadays don’t care much about the privacy. Some of them say it’s OK to be [watched] for just one day,” Tetsuya shared in an interview with CNN.
He streams and uploads the content on the hotel’s official YouTube channel, One Dollar Hotel.
During streams, strangers all over the world gather together in the chat box to watch what the guests are doing, most of the time they’re just sleeping.
Tetsuya can begin monetizing his channel for ad revenue once it reaches more than 4,000 view hours.
One Dollar Hotel is located in 2-6-2, Kiyokawa, Fukuokashhi, Fukuoka-Prefecture, a city known for its seaside culture./TISG
- Advertisement -


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Before the IAU 1976 resolutions, different values for the approximately
aberration constant were employed at different times, and this can complicate comparisons between different catalogues. Another complication comes from the so-called E-terms of aberration, that small part of the annual aberration correction that is a function of the eccentricity of the Earth's orbit. The E-terms, maximum amplitude about , happen to be approximately constant for a given star, and so they used to be incorporated in the catalogue to reduce the labour of converting to and from apparent place. The E-terms can be removed from a catalogue by calling sla_SUBET or applied (for example to allow a pulsar timing-position to be plotted on a B1950 finding chart) by calling sla_ADDET; the E-terms vector itself can be obtained by calling sla_ETRMS. Star positions post IAU 1976 are free of these distortions, and to apply corrections for annual aberration involves the actual barycentric velocity of the Earth rather than the use of canonical circular-orbit models.
The annual aberration is the aberration correction for an imaginary observer at the Earth's centre. The motion of a real observer around the Earth's rotation axis in the course of the day makes a small extra contribution to the total aberration effect called the diurnal aberration. Its maximum amplitude is about .
No SLALIB routine is provided for calculating the aberration on its own, though the required velocity vectors can be generated using sla_EVP and sla_GEOC. Annual and diurnal aberration are allowed for where required, for example in sla_MAP etc. and sla_AOP etc. Note that this sort of aberration is different from the planetary aberration, which is the apparent displacement of a solar-system body, with respect to the ephemeris position, as a consequence of the motion of both the Earth and the source. The planetary aberration can be computed either by correcting the position of the solar-system body for light-time, followed by the ordinary stellar aberration correction, or more directly by expressing the position and velocity of the source in the observer's frame and correcting for light-time alone.
SLALIB --- Positional Astronomy Library


General Controls
- Click on the window to start game
- Esc - Get Out of Game Window
- WASD - Movement
- Left Click / Space - Shoot Paint
- Left Shift - Sprint
- Left Alt - Fast Sprint
- Left Shift + Left Alt - LightSpeed Sprint
Hints
- There are 8 enemies to find on the map, try to find and shoot them all!
- Try lightspeed jumping off of the terrain, it's quite fun to fly around with it


You found an NFC tag, that's cool! NFC tags are a quick way to share information and/or make things more interactive.


This post describes the motivation for my next Clojure library: qplan
The overwhelming majority of graphical applications are built using ad-hoc event callbacks. Some portion of graphical applications, however, use a databinding model of varying expressivity. Often, these databinding models are simply shorthand for ad-hoc dependency graphs composed of event callbacks. Inevitably, the databinding system will be insufficiently expressive, necessitating manual callback wiring. Even with the most expressive data binding systems available in application frameworks these days, there is a shockingly fragile rat’s nest of control flow and execution order.
Quite a bit of activity has occurred in the research community surrounding more formal, more composable, and less fragile event handling. The buzzword de jour is “Functional Reactive Programming” (FRP) which, although quite varied by author, generally involves the concepts of continuous “signals”, discrete “events”, and some evaluation strategy. FRP was born of animation systems and is a fertile research area. More generally, FRP is a type of dataflow programming. The “reactive” moniker also applies to the area of push-sequences, such as .NET’s IObservable and associated Reactive Extensions (Rx).
As fun as it has been to study FRP, there has been little success building real applications using its techniques. In my opinion, this is because FRP encourages a continuous model of your application, but most graphical applications are much more discrete in nature. Multimedia systems, like the animation system that motivated the first FRP paper, and games have quite a few continuous use cases. Point-and-click software, however, generally has discrete controls, with discrete values, and discrete commands. Consider, for example, the undo-able discrete mutations in the most broadly deployed dataflow application on the planet: spreadsheets. Although capable of representing discreet events, FRP systems project the mental framework of water flowing through pipes. This mental framework clashes badly with the more familiar event callback model. Furthermore, even for truly continuous use cases, discretization is essential to the nature of computation; every game fundamentally distills down to an update and render loop.
I’m still contemplating whether or not it is possible to build a databinding system that is an order of magnitude more expressive and composable than the existing state of the art. However, I’m certain that the underlying architecture will be a discrete system which embraces a formal notion of time through an explicit notion of identity and value. Consider again the spreadsheet, where cells have an identity composed of their row and column labels. As you change the spreadsheet, the document updates the values in all cells synchronously in response to a discrete command. This approach can be extended to an arbitrary graph of identities connected by dataflow constraints.
Given a sprawling graph of identities, you need some evaluation system for assigning values to each identity. Unlike a spreadsheet, many applications demand sophisticated and potentially cyclical bindings. In the face of multi-input, multi-output, and multi-directional dataflow, there are many potential evaluation strategies yielding many different graph linearizations. You need a constraint solver suited to the task. Luckily, Texas A&M has studied this problem in collaboration with Adobe. Their approach is referred to as Property Models and addresses many of the issues with relying on solvers for user-facing constraint systems. The Property Models approach is much broader than simply databinding, it also considers predictability and effectively synthesizing commands, such as those recorded in Photoshop’s History pane.
At the core of the Property Model system, is a variation of Zanden’s Incremental Algorithm for Satisfying Hierarchies of Multiway Dataflow Constraints as described by Freeman, et al. I’ve produced a Clojure implementation of this algorithm called qplan.
My intention is to use qplan as part of a larger approach to building graphical user interfaces. I expect a that a complete system requires a variety of algorithms and solvers tuned for particular use cases. For example, Adobe’s Adam and Eve, has both a Quickplan solver for property models and a linear constraint solver for layout. An even more complete system may have an FRP evaluation strategy for animations.


Minister: Govt hospitals short of optometrists
KUALA SELANGOR, Nov 17 — The number of optometrists at government hospitals’ eye specialist clinics nationwide is 310 and is considered low.
Health Minister Datuk Seri Dr Dzulkefly Ahmad said the shortage had led to an increase in the workload of optometrists and indirectly reduced the effectiveness of the health system in the country.
“Due to this shortage, patients have to wait longer at government hospitals for treatment, as the number of patients referred to eye specialist clinics by health clinics increases every year,” he told a press conference after the closing ceremony of the National Eye Health Awareness Campaign (NEHA) 2019 at the Kampung Assam Jawa Community Hall here today.
Also present was the Malaysian Optometrist Association (AMO) president Woon Pak Seong.
Hence, Dr Dzulkefly said public and private cooperation should be utilised for eye health services to be carried out effectively.
“Nationwide there are about 2,000 optometrists working in private clinics and hospitals, and they can be used for routine eye examinations and screening such for red eyes, dry eyes, and cases of eye damage due to diabetes and hypertension complications,” he said. .
About 670 individuals from the B40 group received free spectacles at the programme.
Meanwhile, Woon in his speech said they pledged to build closer collaboration with the government to help address vision problems and eye diseases.
“The Health Ministry has approximately 310 optometrists who handle about 8 million patients a year and the AMO believes that with the combined efforts of private optometrists, the blindness statistics and vision problems can be controlled and minimised,” he said. — Bernama


ECONOMIES OF SCALE IN FINANCIAL INTERMEDIATION: A STATISTICAL INVESTIGATION OF
CALIFORNIA SAVINGS AND LOAN ASSOCIATIONS
A DISSERTATION SUBMITTED TO THE DEPARTMENT OF ECONOMICS AND THE COMMITTEE ON THE GRADUATE DIVISION OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
By Corwin Daniel Vencill
April 1971
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.


| DOSE: |
40 mg |
insufflated |
2C-T-7 |
(powder / crystals) |
[Erowid Note: 40 mgs of 2C-T-7 insufflated is considered an extremely high dose, see 2C-T-7 Dose Chart. Insufflating 2C-T-7 has lead to at least 2 deaths and seems to lead to increased body load and negative effects in many people. Because dosage between users varies so wildly, it is dangerous for first time users to snort more than a few milligrams because people have had dissociated, overwhelming experiences on as little as 6mg insufflated. It is imperative that dosed be measured using a milligram scale for accuracy.]
Just to lead this off, I am a chemist at a Pharma Lab, although this took place while I was in college for biochemistry, to add some validity to my story. I took 2-CT-7 three times in 2001 while it was still legal to buy through a chemical company.It was kind of disturbing to see in the Rolling Stone article about the kids who died used the same order form the guy who got our sample used. At the time I had no microbalance and the doses weren't described as clear cut as they are today. So I personally took the whole sample, 400mg, and cut it into half like a line of coke to 200mg, and again to 100mg, and so on, which again is crazy to think we didn't OD but also leads to an unknown exact dose per hit.
The first experience, a friend and I after doing a little research took an approx. 40mg dose measured as described above, pressed into bread and taken into a pill. After going to bed after an hour thinking we'd gotten a bad batch, another half an hour later we both woke up simultaneously and met each other in the hall walking towards each other having had it hit at the same time almost two hours after ingestion. A great trip similar to mushrooms and X and with no nausea, actual hallucinations for me while my friend experienced something more akin to LSD with the melting and such, while I experienced something a little more coherent in surroundings but with complete full length hallucinations, no muddling of visuals, of people being in the room, and animal kingdom on my microwave, etc. What I would imagine schizophrenia is like since its not 'trippy' so much as its indistinguishable from reality. Lasted approximately 6 hours.
Second experience was approx. 40 mg snorted. Exact opposite of the ingestion in that it included me vomiting violently twice twenty minutes in, probably din't help that we were in a car middle of the day, with a sober driver I might add. After that scare, again great hallucinations of people on the hood of the car, and the incessant need to listen to the song 'Tiny Cities Made of Ashes' about thirty times in a row and the drinking of a case of coca cola at our destination. Spent most of the time under a blanket in the back seat since the movement was too intense to visualize, only getting out to pick up a friend half way who had no idea of our condition, poor thing, I'm still not sure if she knows what was wrong with us.  Again lasting about 4 to 6 hours.
My friend also had nausea but was able to keep it together, same friend as first trip, who also has diabetes as I see there was a question whether that could be a problem earlier. A cross again of mushrooms and X but without the sometimes annoying self examination that you get at the end of some trips when the visuals end but the high is still going much to your malign and you can't shut down your mind.
Third time was approx. 20mg snorted with a first timer. He went off on his own and had a modderate trip out of what I could gather from what he said. He left on his own around the peak time but is a common over exaggerator when it comes to these things. I had almost no effects, possibly because this all took place in the same week and a half, no nausea, just a good body high, and everything after that is skewed because we started smoking pot since I had apparently become immune and needed something to entertain myself since all my receptors for this drug must have been filled.
Overall a very positive experience although after learning the difference between a great trip, no trip and death is only a few milligrams I wouldn't do without a reliable scale and a sober partner.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


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3.3. Queue Configuration
The queueing rules are defined in a JSON file and control the number of queries that can be submitted to Presto and the quota of running queries per queue. The filename of the JSON config file should be specified in query.queue-config-file config property.
Rules that specify multiple queues will cause the query to acquire the queues’ permits sequentially. The query must acquire all queues’ permits before it starts being executed. It acquires the next queue permit only after it is accepted for execution by the previous queue. A slot for the query is reserved in all queues. The query is rejected if no slot is available in any of the queues.
Rules are processed sequentially and the first one that matches will be used. In the example configuration below, there are five queue templates. In the user.${USER} queue, ${USER} will be expanded to the name of the user that submitted the query. ${SOURCE} is also supported, which expands to the source submitting the query. The source name can be set as follows:
- CLI: use the --source option.
- JDBC: set the ApplicationName client info property on the Connection instance.
There are also five rules that define which queries go into which queues:
- The first rule makes bob an admin.
- The second rule states that all queries that come from a source that includes pipeline should first be queued in the user’s personal queue, then the pipeline queue. When a query acquires a permit from a new queue, it doesn’t release permits from previous queues until the query finishes execution.
- The last rule is a catch all, which puts all queries into the user’s personal queue.
All together these rules implement the policy that bob is an admin and all other users are subject to the follow limits:
- Users are allowed to have up to 5 queries running.
- No more than 10 pipeline queries may run at once.
- No more than 100 other queries may run at once.
{
"queues": {
"user.${USER}": {
"maxConcurrent": 5,
"maxQueued": 20
},
"pipeline": {
"maxConcurrent": 10,
"maxQueued": 100
},
"admin": {
"maxConcurrent": 100,
"maxQueued": 100
},
"global": {
"maxConcurrent": 100,
"maxQueued": 1000
}
},
"rules": [
{
"user": "bob",
"queues": ["admin"]
},
{
"source": ".*pipeline.*",
"queues": [
"user.${USER}",
"pipeline",
"global"
]
},
{
"queues": [
"user.${USER}",
"global"
]
}
]
}


Roadwise group offers free caravan and trailer checks
by Staff WriterRESIDENTS can get free caravan and trailer checks in Ashby in the lead up to the summer holidays.
The City of Wanneroo’s Roadwise Advisory Group is holding an inspection day at the Ashby operations centre at 1204 Wanneroo Road on Saturday, December 7 from 8am to noon.
The event can help ensure caravans and trailers are roadworthy and safe to tow ahead of the holiday season, with past inspections revealing a range of faults such as electrical and suspension problems, as well as worn wheel bearings, brakes and tyres.
For more information, call 9405 5072.


Your password can be reset using the link below
Click here
or copy this
http://localhost/master.terry


Even the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
CSIR Basic SchoolEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
Opoku Ware SchoolEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
New York UniversityEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
New York UniversityEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
Kumasi HiveEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
MicrosoftEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
Bhyte SoftwareEven the all-powerful Pointing has no control about the blind texts it is an almost unorthographic.
ShopifySeparated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean.
A small river named Duden flows by their place and supplies it with the necessary regelialia. It is a paradisematic country, in which roasted parts of sentences fly into your mouth.
“Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean.”
— Ethan McCown, CEO XYZ Inc.
“Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean.”
— Craig Gowen, CEO XYZ Inc.
“Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean.”
— Ethan McCown, CEO XYZ Inc.
“Far far away, behind the word mountains, far from the countries Vokalia and Consonantia, there live the blind texts. Separated they live in Bookmarksgrove right at the coast of the Semantics, a large language ocean.”
— Prince Essuman, Schoolmate Opoku Ware School.
I make youtube videos for fun and to share my knowledge in Game Development and Programming as I learn. My channel was started in July 2019 and currently has 170 Subscribers and 13,500 views. I look forward to growing and developing this hobbie of mine into perhaps something big and worthwhile.
I love all forms of writing especially creative writing. So far, I've self-published 3 books on Amazon through the Amazon Kindle Publication program. My books have over 1000 downloads and 100 positive reviews. My books discuss various topics from Computer Science and Programming to Life Hacks.
My passion for programming and tech has lead me to a couple of places, contributing to open source projects on github is one of them. I have made over 10 contributions to popular projects on github like Visual Studio Code. I have also created personal projects to help out other people in their development journey
Being a person who likes helping other people on the internet, primarily due to the massive help I myself have recieved form the internet, I have created a Quora Space on the Game Deveopment and Programming subject where members help each others questions on such topics and to also share their experiences.
During sophomore year of high school I formed an organization together with my friend. This organization is made up of high schoolers and high school graduates and its primary goal is to solve societal problems with computer software. So far, we've been able to create a software that automates the process of taking exeats in various Ghanaian high schools. We are currently working on a Health app to bring patients closer to their doctors.


WILD THINGS
A Film Review by James Berardinelli
RATING: *1/2 OUT OF ****
United States, 1998 U.S. Release Date: 3/20/98 (wide) Running Length: 1:48 MPAA Classification: R (Male full-frontal nudity, female topless nudity, graphic sexual activity, frequent profanity, violence) Theatrical Aspect Ratio: 2.35:1
Cast: Kevin Bacon, Matt Dillon, Neve Campbell, Theresa Russell, Denise Richards, Daphne Rubin-Vega, Carrie Snodgress, Jeff Perry, Robert Wagner, Bill Murray Director: John McNaughton Producers: Steven A. Jones, Rodney M. Liber Screenplay: Stephen Peters Cinematography: Jeffrey L. Kimball Music: George S. Clinton U.S. Distributor: Columbia Pictures
WILD THINGS is a way to steam up an otherwise dreary early spring day… provided, of course, that you're the victim of a frontal lobotomy. There is, in fact, no doubt about who this motion picture is aimed at: movie-goers in their late teens and early twenties -- the most lucrative target group. This is film noir for the MTV generation: fast-paced, slick, flashy, gleefully mindless, and hollow to the core. WILD THINGS is easily one of the five dumbest movies to arrive in theaters during the first eleven weeks of 1998. I've seen more convincing drama (with nearly as much bare flesh) on that pinnacle of narrative quality, BAYWATCH.
WILD THINGS wants to dupe viewers into thinking it's a thriller with a real story. What it is, however, is a series of increasingly- improbable and shockingly predictable plot twists. Everything in between those serpentine moments is filler -- a flash of a breast, a spatter of blood, and some of the most idiotic dialogue this side of a Steven Seagal movie. The film tries so hard to surprise its audience that the twists end up being easy to guess -- just take a stab at the most unlikely thing to happen, and that will probably be it. Using this approach, I was right three times and wrong only once. That's not a good average for a production that wants to keep viewers in the dark about what's around the next corner.
The ad campaign uses two things to sell this movie: the hot, young cast and the old standby, sex. Both have an abundance of screen time, although I'll admit that the film's erotic content is somewhat less impressive than I expected. Nothing about WILD THINGS is exceptionally risqué. The soft-core sex sequences are generic, and don't generate much heat. The lesbian kisses can't hold a candle to those in BOUND. Theresa Russell and Denise Richards have only token topless appearances (Neve Campbell, possessing an iron-clad "no nudity" clause in her contract, keeps her clothes more or less on). The film's greatest curiosity is a full frontal shot of Kevin Bacon climbing out of the shower. Maybe a few girls will skip seeing a fully-clothed Leonardo DiCaprio for the thirteenth time in TITANIC to catch a glimpse of what Kyra Sedgwick (Mrs. Kevin Bacon) is familiar with.
The director of WILD THINGS is John McNaughton, whose last effort was the finely-tuned psychological thriller, NORMAL LIFE. That movie featured copious sex, a pair of real characters, and a powerful script. It's difficult to believe that something this shallow could come from the same film maker. But I suppose we all need to put food on the table. McNaughton appears to have completely lost his way here, in what is obviously a stab at mainstream success (his previous wide-release picture, MAD DOG AND GLORY, was a box-office disappointment). Quick cuts and pretty sunrises can't even begin to cover up this movie's flaws.
The main character (and I use that term lightly, since no one in WILD THINGS shows more than an occasional flash of personality) is Sam Lombardo (Matt Dillon), a guidance counselor at Florida's Blue Bay High School. A student, the deliciously curvaceous Kelly Van Ryan (Denise Richards), has a crush on him. One afternoon, she comes to his house to wash his car, and, when she leaves, her clothing is torn. After confessing to her mother (Theresa Russell) that she was raped, she goes to the police station, where she tells her story to detectives Ray Duquette (Kevin Bacon) and Gloria Perez (Daphne Rubin-Vega). They are skeptical about here claims until another girl, Suzie Toller (Neve Campbell), comes forward with a similar tale. Meanwhile, Sam, convinced that he's being set up, goes to a shyster lawyer (Bill Murray) for help.
The acting in WILD THINGS isn't very good, but none of the principals have much to work with. This is definitely not a character- based motion picture. Not only does the ludicrous screenplay ignore the possibility that someone in the audience may have a triple-digit I.Q., but it doesn't bother to give any of the on-screen individuals even a hint of depth. The men and women populating the picture are there to look nice, but nothing more. Matt Dillon is given plenty of opportunities to flex his biceps. Neve Campbell gets to model the slutty look. Denise Richards strikes a fetching pose in a see-through, one-piece bathing suit. And nothing in the film gets a rise out of Kevin Bacon. The only one who's even remotely interesting is Bill Murray, and he seems to think he's in comedy, not a thriller (maybe he's got the right idea).
Columbia Pictures has specifically requested that critics not reveal the film's ending, which prompts the question: which ending do they want kept secret? WILD THINGS has no less than three (one occurs during the end credits, so stay seated), all of which are jaw-droppingly absurd -- a feat that Joe Eszterhas (the writer of BASIC INSTINCT and SHOWGIRLS) would be impressed by. Thanks to Jeffrey Kimball's polished, kinetic cinematography, WILD THINGS always looks great, and George S. Clinton's score keeps it pulsing and throbbing. But, no matter how shiny the superficial sheen is, this is still trash, and, like all garbage, it stinks.
Copyright 1998 James Berardinelli
- James Berardinelli e-mail<EMAIL_ADDRESS>Now with more than 1400 reviews... The ReelViews web site: http://movie-reviews.colossus.net/
"My belief is that no movie, nothing in life, leaves people neutral.
-- David Puttnam
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
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Related links: index of all rec.arts.movies.reviews reviews


|
File Documentation
|
Functions | |
| def | generate_embedding_dict () |
| def | word_centroid (kgram) |
| Returns centroid of glove vectors of kgram. More... | |
| def | GetEmbeddingHashesCharacter (filename, k) |
| Calculates centroids of window size k \detail Calculates centroids of window size of character k using GloVe word to vec dataset. More... | |
| def | Winnowing (H, t, k) |
| Implementation of winnowing algorithm for vectors. More... | |
| def | similarity_metric_1 (X, Y) |
| Calculates similarity coefficient between 2 files based on their fingerprint. More... | |
| def | moss_embedding (t1, t2, t, k) |
| Returns similarity between two files. More... | |
| def | embedding_process_files (zip_dir) |
Variables | |
| dictionary | word_to_vec = {} |
| Glove conversion from word to vector. More... | |
\package Word Embedding Plagiarism detector for text files. Detects plagiarism using GloVe vectors using a similar approach winnowing algorithm.
| def files.wordembeddingpro.embedding_process_files | ( | zip_dir | ) |
| def files.wordembeddingpro.generate_embedding_dict | ( | ) |
| def files.wordembeddingpro.GetEmbeddingHashesCharacter | ( | filename, | |
| k | |||
| ) |
Calculates centroids of window size k \detail Calculates centroids of window size of character k using GloVe word to vec dataset.
| filename | : Path of file whose hashes or centroids have to be calculated. |
| k | : Size of sliding window. |
| def files.wordembeddingpro.moss_embedding | ( | t1, | |
| t2, | |||
| t, | |||
| k | |||
| ) |
Returns similarity between two files.
\detail Returns similarity between two files without needing to iterate over all pairs of files.
| t1 | : Path of file 1 |
| t2 | : Path of file 2 |
| t | : Threshold length of winnowing algorithm |
| k | : Sliding window length for calculating hash |
| def files.wordembeddingpro.similarity_metric_1 | ( | X, | |
| Y | |||
| ) |
Calculates similarity coefficient between 2 files based on their fingerprint.
\detail Calculates similarity coefficient between 2 files using their fingerprints X and Y. The similarity is calculated as trace(X'XY'Y) / sqrt(trace((X'X)^2) * trace((Y'Y)^2))
| X | : Fingerprint of file 1 of dimension n x 100. |
| Y | : Fingerprint of file 2 of dimension m x 100. |
| def files.wordembeddingpro.Winnowing | ( | H, | |
| t, | |||
| k | |||
| ) |
Implementation of winnowing algorithm for vectors.
\detail Winnowing algorithm implemented for vectors. Criteria : select vector closest to centroid using cosine similarity. If equally close vectors exist, choose the one which is to the right.
| H | : The hashes of the sliding windows. |
| t | : The threshold size |
| k | : The size of the sliding window. |
| def files.wordembeddingpro.word_centroid | ( | kgram | ) |
Returns centroid of glove vectors of kgram.
Returns centroid of glove vectors of words in kgram.
| kgram | : list of words whose centroid is to be computed |
| files.wordembeddingpro.word_to_vec = {} |
Glove conversion from word to vector.


Preparation time
1-2 hours
Cooking time
30 mins to 1 hour
Serves
Serves 4-5
Preheat the grill to its highest setting. Line a baking tray with aluminium foil.
For the roasted red pepper salad, when the grill is hot, place the peppers onto the prepared baking tray and grill for 10-12 minutes, turning occasionally, until the skin is blackened and blistered on all sides.
Transfer the blackened peppers to a bowl, cover with cling film and set aside for 10-15 minutes, or until the skins have loosened and the peppers are cool enough to handle.
Peel and discard the blackened skin from the peppers using your fingers. Cut each peeled pepper in half over a serving bowl, catching any juices in the serving bowl.
Remove the seeds from the peppers, then tear the flesh into long strips 1cm/½cm wide, using your fingers. Add the pepper strips to the serving bowl.
Add the anchovies, garlic and capers to the bowl containing the peppers. Twist the lemon rind strips and add them to the bowl, then pour over the lemon juice and olive oil. Season, to taste, with salt and freshly ground black pepper. Mix the salad ingredients until well combined and coated in the dressing. Set aside for at least one hour to allow the flavours to infuse.
Meanwhile, light the barbecue. When the flames have died down and the coals have turned ash-white, the barbecue will be ready (this should take about 30 minutes).
For the sea bass, run the sea bass under cold water, then pat dry with kitchen paper. Rub the sea bass all over with the olive oil, then season, to taste, with salt.
Place the sea bass onto the barbecue grill and cook for 12-15 minutes on each side, or until the skin is crisp and golden-brown on both sides and cooked through. (NB: The sea bass is cooked through when the tip of a knife inserted into the thick meat behind the head meets with only the faintest resistance near the bone.)
To serve, add the chopped mint and basil to the salad, if using, and mix well to combine. Place one barbecued sea bass onto each of four or five plates, and spoon the roasted red pepper salad alongside.


SkillsFree
Web Design Roadmap & Crash Course
Lesson 1
1.3
1.3.6
The <meta> tag defines metadata about an HTML document. Metadata is data (information) about data.
The <meta> tags always go inside the <head> element, and are typically used to specify character set, page description, keywords, author of the document, and viewport settings.
Metadata will not be displayed on the page, but is machine parsable.
Metadata is used by browsers (how to display content or reload page), search engines (keywords), and other web services.
<head>
<meta charset="UTF-8" >
<meta name="description" content="Web Design Roadmap & Crash Course" >
<meta name="keywords" content="HTML, CSS, Free Courses" >
<meta name="author" content="Joseph Amandy" >
<meta name="viewport" content="width=device-width, initial-scale=1.0" >
</head>
Define keywords for search engines:
<meta name="keywords" content="HTML, CSS, Free Courses" >
Define a description of your web page:
<meta name="description" content="Web Design Roadmap & Crash Course" >
Define the author of a page:
<meta name="author" content="Joseph Amandy" >
Refresh document every 30 seconds:
<meta http-equiv="refresh" content="30" >
Setting the viewport to make your website look good on all devices:
<meta name="viewport" content="width=device-width, initial-scale=1.0" >
The viewport is the user's visible area of a web page. It varies with the device - it will be smaller on a mobile phone than on a computer screen.
You should include the following <meta> element in all your web pages:
<meta name="viewport" content="width=device-width, initial-scale=1.0" >
This gives the browser instructions on how to control the page's dimensions and scaling.
The width=device-width part sets the width of the page to follow the screen-width of the device (which will vary depending on the device).
The initial-scale=1.0 part sets the initial zoom level when the page is first loaded by the browser.
Browser Support
| Element | |||||
|---|---|---|---|---|---|
| <meta> | Yes | Yes | Yes | Yes | Yes |


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Click on "Select" checkbox near each raid name that you want to receive new Tweets for. If a raid is selected, you can click on "Track" near that raid to receive desktop notifications for it.
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Dgame.Math.Rect
-
Declaration
struct
Size
; -
Declaration
struct
Rect
;Rect
defines a rectangle structure that contains the left upper corner and the width/height.Author: Randy Schuett<EMAIL_ADDRESS>-
Declaration
enum
Edge
: ubyte;The edges of the Rectangle
-
Declaration
Top
Top
edge -
Declaration
Bottom
Bottom
edge -
Declaration
Left
Left
edge -
Declaration
Right
Right
edge -
Declaration
TopLeft
TopLeft
edge -
Declaration
TopRight
TopRight
edge -
Declaration
BottomLeft
BottomLeft
edge -
Declaration
BottomRight
BottomRight
edge
-
-
Declaration
int
x
;The
x
coordinate -
Declaration
int
y
;The
y
coordinates -
Declaration
uint
width
;The
width
-
Declaration
uint
height
;The
height
-
Declaration
pure nothrow @nogc this(int
x
, inty
, uintwidth
, uintheight
);CTor
-
Declaration
const pure nothrow @nogc Rect
opBinary
(string op)(const Rectrect
);Supported operations: +, -, *, /, %
-
Declaration
pure nothrow @nogc void
collapse
();Collapse this Rect. Means that the size is set to 0.
-
Declaration
const pure nothrow @nogc bool
isEmpty
();Checks if this Rect is empty (if it's collapsed) with SDL_RectEmpty.
-
Declaration
const @nogc Rect
getUnion
(const Rectrect
);Returns an union of the given and this Rect.
-
Declaration
const pure nothrow @nogc bool
contains
(const Vector2ivec
);Checks whether this Rect
contains
the given coordinates. -
Declaration
const pure nothrow @nogc bool
contains
(intx
, inty
);Checks whether this Rect
contains
the given coordinates. -
Declaration
const pure nothrow @nogc bool
opEquals
(const Rectrect
);opEquals
: compares two rectangles on their coordinates and their size (but not explicit type). -
Declaration
const @nogc bool
intersects
(const Rectrect
, Rect*overlap
= null);Checks whether this Rect
intersects
with an other. If, and the parameter 'overlap
' isn'tnull
, the colliding rectangle is stored there. -
Declaration
pure nothrow @nogc void
setSize
(uintwidth
, uintheight
);Replace the current size.
-
Declaration
pure nothrow @nogc void
setSize
(const Sizesize
);Replace the current
size
. -
Declaration
const pure nothrow @nogc Size
getSize
();Returns the current size as Vector2
-
Declaration
pure nothrow @nogc void
increase
(intwidth
, intheight
);Increase current size.
-
Declaration
pure nothrow @nogc void
setPosition
(intx
, inty
);Set a new position with coordinates.
-
Declaration
pure nothrow @nogc void
setPosition
(const Vector2iposition
);Set a new
position
with a vector. -
Declaration
const pure nothrow @nogc Vector2i
getPosition
();Returns the current position as Vector2
-
Declaration
pure nothrow @nogc void
move
(const Vector2ivec
);Move the object.
-
Declaration
pure nothrow @nogc void
move
(intx
, inty
);Move the object.
-
Declaration
const pure nothrow @nogc Vector2i
getEdgePosition
(Edgeedge
);Returns the position of the given Edge on this Rect.
-
Declaration
const pure nothrow @nogc Vector2i
getCenter
();Returns the center position of this Rect
-


|
| Value |
Description |
Notes |
|
| 01 |
Required credit |
Credit that must be displayed when a resource is used (eg ‘Photo Jerry Bauer’ or ‘© Magnum Photo’). Credit text should be
carried in <FeatureNote>
|
| 02 |
Caption |
Explanatory caption that may accompany a resource (eg use to identify an author in a photograph). Caption text should be carried
in <FeatureNote>
|
| 03 |
Copyright holder |
Copyright holder of resource (indicative only, as the resource can be used without consultation). Copyright text should be
carried in <FeatureNote>
|
| 04 |
Length in minutes |
Approximate length in minutes of an audio or video resource. <FeatureValue> should contain the length of time as an integer
number of minutes
|
| 05 |
ISNI of resource contributor |
Use to link resource to a contributor unambiguously, for example with Resource Content types 04, 11–14 from List 158, particularly
where the product has more than a single contributor. <FeatureValue> contains the 16-digit ISNI
|
| 06 |
Proprietary ID of resource contributor |
Use to link resource to a contributor unambiguously, for example with Resource Content types 04, 11–14 from List 158, particularly
where the product has more than a single contributor. <FeatureValue> contains the proprietary ID, which must match a proprietary
ID given in an instance of <Contributor>
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$EDB3/60851: ? Jump from $EDDD: EDB3: C8 INY EDB4: B1 94 LDA ($94),Y ; save track EDB6: 48 PHA EDB7: C8 INY EDB8: B1 94 LDA ($94),Y ; and sector EDBA: 48 PHA EDBB: A0 13 LDY #$13 ; pointer to side-sector block EDBD: B1 94 LDA ($94),Y EDBF: F0 0A BEQ $EDCB ; no track following? EDC1: 85 80 STA $80 ; track and EDC3: C8 INY EDC4: B1 94 LDA ($94),Y EDC6: 85 81 STA $81 ; sector of 1st side-sector block EDC8: 20 E5 ED JSR $EDE5 ; mark side-sector block as Jump from $EDBF: EDCB: 68 PLA ; allocated EDCC: 85 81 STA $81 EDCE: 68 PLA ; get track and sector back EDCF: 85 80 STA $80 EDD1: 20 E5 ED JSR $EDE5 ; mark blocks of file as allocated Jump from $EDE2: EDD4: 20 04 C6 JSR $C604 ; read next entry in directory EDD7: F0 C3 BEQ $ED9C ; end of directory? Jump from $ED9A: EDD9: A0 00 LDY #$00 EDDB: B1 94 LDA ($94),Y ; file type EDDD: 30 D4 BMI $EDB3 ; bit 7 set, file closed? EDDF: 20 B6 C8 JSR $C8B6 ; file type to zero and write BAM EDE2: 4C D4 ED JMP $EDD4 Previous Page / Next Page


I'm Jaki, a programming student at Epicodus in Portland, Oregon. As a former cafe manager, I have a strong interest in creating streamlined and efficent processes that help humans with everyday tasks.
Hey there!
My name is Jaki Widby, I am located in Portland, Oregon. I am currently attending Epicodus, a school for aspiring programmers. As a former cafe manager I experienced many inconsistencies with restaurant technology. These inconsistencies and a long standing interest in coding are what got me interested in programming.
I would like to create programs and applications that help humans complete everyday tasks with greater efficiency and accuracy. I want my work to help others get tasks done quickly, freeing them to do what matters most in their life (see my picks below!).
My interests and hobbies
Past Projects
Beep-Boop
A number return operator that replies with a full list of numbers up to a specified number.
View Here: Beep Boop
Multiple Counter
A calculator that counts up to a specified in multiples of another specified number.
View Here: Multiple Counter
Language Suggester
A multiple choice quiz that generates a programming language suggestion.
View Here: Language Suggester
Languages
Let's connect! LinkedIn Jaki.Widby@gmail.com